In the theater contemporary, mscaratambm comes back to have its use in some company teatrais, such as: Grotowski (Poland), Bread and Puppet (United States), Mummenschanz (Paris), Putxnelis Claca (Barcelona). That they work the return of the old theater and I dare of mscaras.1.2 the BONECOSA word doll encloses vriastcnicas: marionette (doll moved for wires), puppet (glove doll), bonecode shade (mentions a chapada, articulvel figure to it or not, visible comprojeo of light), doll of pole (a doll whose movements are controladospor poles or rods), marote (it is also a glove doll where the bonequeiroveste and with its hand articulates its mouth), among others we find also omomento where the actor shed with the personage-doll can be umboneco-mask or a mask-corporal.' ' Doll is the term usadopara to assign an object that, representing the figure human being, or animal, dramaticamente livened up ahead of one pblico' ' (AMARAL, 1996, p.71). The doll alone is manipulated to the living creature, ouseja, in the act of the presentation. Its animation if distinguishes from the animation of the cinema, therefore in the cinema the animation occurs of electronic form and processes tcnicos.' ' In a theater of dolls, the doll is not never mechanized, electronic, nemautmato.' ' (AMARAL, 1996, p.72). It is not doll (infantile playful object), poisna interaction between ' ' criana' ' the doll independe of public. It is also distinguished from sculpture, efgie and of the adornment images, therefore boneconunca is static. Mobile, but of a different mobility of the one of automaton, oude moved dolls the stack or electronic. ' ' The mobility of the doll, objetoteatral, has as origin the conscientious energy of the actor-manipulador.' ' (AMARAL, 1996, p.72). In the theater of dolls its linguagemno is the realism and what it arrests the attention I publish of it to a doll is different doque I attracted in an actor.